Tag: Gary Numan (Page 20 of 21)

Missing In Action: CHRIS PAYNE

21 October 2011 /

Best known as a member of Gary Numan’s band between 1979-89 and for co-writing VISAGE’s ‘Fade To Grey’, Cornishman Chris Payne was also DEAD OR ALIVE’s musical director when the band were touring their ‘Youthquake’ album.

A graduate of Medieval music, he even mastered a reed instrument called a Cornamuse. Now domiciled in Normandy, he happily chatted about his period with Gary Numan, the genesis of ‘Fade To Grey’ during soundchecks on ‘The Touring Principle’ in 1979 and his post-Numan band DRAMATIS.

Can you remember much about your audition for Mr Numan? 

Oh yeah. I remember as if it was yesterday. I had finished Music College and was taking some time out working for our local council taking down trees. I turned up in my ‘chain saw’ gear ie workman’s jacket, large boots and sporting a very bad moustache with hair like King Charles II. All that was missing was the chain saw!

Is it true you hadn’t ever played a synthesizer before that?

I had never played a synth before. Bluffed my way through the audition pushing every note under the sun and making it look as if I had a clue. The real bonus for me was playing the viola and Gary, being a big fan of stringed instruments, loved the sound.

After the audition I remember events moving very swiftly, and before I knew it we were in Shepperton rehearsing for the ‘Old Grey Whistle Test’, a live BBC TV music show that used to broadcast every Tuesday night.

Later that evening, we were told that a spot had come up for us on ‘Top Of The Pops’, which at the time was the ‘God’ show for music as MTV etc didn’t exist. Four weeks later ‘Are ‘Friends’ Electric?’ was at No1. Was it hard work? No, not at all. I loved every minute of it.

From September 1979 we were just continually touring and recording, were all young at the time, and had plenty of energy and enthusiasm. I won’t mention names but I remember hearing on Radio 1, a well known band being asked about life on tour and they complained about how tough it was, and how people didn’t realise what they had to go through. I just thought… OK!!!!

You don’t realise how lucky you are to be in your position, after all what’s better, a world tour when you’re 23 years old or working in a factory making car batteries (a job I did as a student)?


Did you have any inkling that something was about to happen when you were on Old Grey Whistle Test and Top Of The Pops doing ‘Are ‘Friends’ Electric?’ in the same week?

It was a frantic few days and as it was happening, I think we all sensed that something was about to happen. Not only did it happen but at such a pace!

I didn’t realise at the time but Numan’s label Beggars Banquet were on the brink of bankruptcy and Gary’s success not only made his own career take off but also saved the label. Imagine if Beggars had gone under. They’ve a lot to thank him for.

You appeared on a number of Gary Numan albums including ‘The Pleasure Principle’ and ‘Telekon’, usually playing viola, but would be called on to play keyboards occasionally. What would you normally be asked to do as it would appear Gary handled many of the synth parts himself in the studio?

Actually Gary was extremely generous letting me play a lot of parts on ‘The Pleasure Principle’. We shared the workload, although he had created all of the parts. It was interesting as the main synths were a Minimoog and Polymoog.

No guitars, just drums, bass, synths and viola of course! My only issue was trying to stay awake, as these were all night recording sessions after the pubs had shut. You’re correct, by the time ‘Telekon’ came along Gary played most of the keyboard parts.

What are your overriding memories of the first two Gary Numan tours?

Well they were both phenomenal, and bear in mind nothing had ever been seen like it before with these great futuristic sets and lighting effects etc. Far too many great memories of these days, you’ll have to come and see me and I’ll spend a few hours chatting about it… we did two world tours with both of these sets and my regret is we didn’t tour abroad with ‘Warriors’, which also looked amazing.

Which Gary Numan songs were your favourites, either because of your contributions or from playing them live?

It’s no secret that my favourite track was ‘Down In The Park’. It was truly spine tingling to play with its anthemic power, and I loved playing the piano intro to it before launching into the thunderous Polymoog chords.

With VISAGE’s hit single ‘Fade To Grey’, what inspired you and Billy Currie to recording togther?

It just sort of happened and became our soundcheck song during the first tour back in 1979, with Ced Sharpley adding some drums. That’s basically how it developed. As Billy was intending to leave and rejoin ULTRAVOX after the tour, he wanted to record it as a kind of souvenir of the time spent with Gary Numan and myself as the other keyboard player. He organised the recording at the late Martin Rushent’s studio, and we (Billy, Ced and myself) went in and recorded it the day after the tour finished.

By the way, the entire song except vocals was recorded in a day…those were the days! And the rest is history…

This became such a signature track. What do you think was the key to its huge success?

The key to its success… A Minor!!! Ha ha!

But seriously! It was part of a movement which, image wise, was very strong. This will always help the promotion of a song. Technically it was very simple, relying on a cyclic movement from A minor to D minor and using the A minor as a pivot chord to re-introduce the verse. Plus it had a very strong but simple chorus… “Ohh-OOH we fade to grey”! It also had a certain atmosphere, which was relevant to the times.


How important were synthesizers in the shaping of music post-punk and why was there such a huge success rate during this period?

It was important and it enabled non-trained musicians to be able to express themselves. The beauty of a synth is that you can use your imagination to create all manner of soundscapes, atmospheres – call it whatever, without the need to be a great player.

Some people remarked on how soul-less the synths were compared to real instruments. If you ever heard Billy Currie playing his solo ARP Odyssey, you’ll realise how wrong that is. He was a phenomenally expressive player who could make the instrument scream and growl, and also sound very emotive.

I’ve since spoken to many players of early synths and it’s interesting that we each in turn have a different favourite. Mine was the Minimoog. A classic little demonic monosynth that could play the most intrinsically beautiful sounds, and also shake a building down to its foundations that you were playing in.

Is there an artist from that era whom you felt was particularly innovative in embracing the synthesizer technology?

Obviously KRAFTWERK plus the other German bands mentioned before, Jean-Michel Jarre and YELLOW MAGIC ORCHESTRA. As mentioned, Mr Currie, and let’s not forget Gary Numan who had probably the most influence on the commercialisation of synths.

You toured the skies but it all suddenly ended with Gary Numan’s three farewell shows at Wembley Arena in April 1981. What were your own emotions and thoughts during those gigs?

Because of the immense scale of that production with the three back-to-back concerts and sell out crowds, half of me thought that this was crazy stopping at that moment with such huge interest and the fact that nothing had been seen like this before and if it could grow bigger. Who knows what would have happened? It was also sad and a bit disconcerting as I had been in regular employment for the last three years. On the other hand, Gary had made this decision and it was a case of moving forward with DRAMATIS and looking forward to a new adventure.


You formed DRAMATIS with RRussell Bell, Ced Sharpley and Denis Haines from the Gary Numan band and released the album ‘For Future Reference’ on Elton John’s Rocket Records in late 1981. Simon Heyworth who worked on Tubular Bells was the co-producer. How do you look back on the recording of that?

Oh God, it was a mess! I never understood why we spent ages recording it in one of the best studios in England at the time, a studio called Ridge Farm, only to remix it in London, which was bloody awful.

All this messing around when we had perfectly good mixes drove me to despair. It took forever, cost a fortune, we had to re-do the cover of the album and when it was finally released, Denis left the band! Having said that, the time spent at Ridge Farm was brilliant. It was a really inspirational environment and had a great pub in the village just up the road. Needless to say where we were most evenings.

RRussell and Denis were the main vocalists for DRAMATIS. But Gary Numan sang on the terrific ‘Love Needs No Disguise’ and you even did a lead vocal on ‘Turn’. Was there initially a reluctance for someone to take up the mantle of fronting DRAMATIS, especially as you were all more used to the role of being seasoned multi-instrumentalists?

That’s an interesting point. In retrospect, RRussell should have been the only vocalist (apart from Gary’s contribution) as this would have set a certain continuity. I don’t know why it ended up with Denis and myself singing. Turn was my composition, which explains why I sang it, but I really have a shocking voice, my wife Dominique will verify that! I remember that it took about two to three days to get it. No ‘auto tune’ to save the day in those days…

Interestingly, I remember that Adam Ant’s ex-wife Eve, who I was sharing a flat with at the time, suggested we tried out a hairdresser friend of hers who was looking to sing in a band. His name: Boy George! Imagine if he had joined DRAMATIS?

Photo by Brian Aris

In hindsight, why do you think Gary Numan’s fanbase didn’t take to DRAMATIS in large numbers?

I don’t know. Perhaps we didn’t have a strong enough identity? The music was too removed from the Numan style? Badly promoted? It could be a combination of all of these or other factors. It might even have been my dodgy haircut!

After ‘For Future Reference’, DRAMATIS did some cracking singles like ‘Face On The Wall’ and ‘The Shame’. ‘I Can See Her Now’ even got into the lower reaches of the chart and you toured in your own right. Was a second album ever close to completion?

We were working on quite a few songs for a second album. But I think we just lost our way and enthusiasm for the project with all the problems that beset us. Maybe we’ll release them someday?

You rejoined Gary Numan’s band for 1983’s ‘Warriors’ tour and remained until 1988. But in between, you also did a stint touring with DEAD OR ALIVE after they secured a No1 with’ You Spin Me Round’. Do you have any amusing recollections of that DEAD OR ALIVE tour? What was it like working with Pete Burns?

I actually stayed officially until 1990. As for DEAD OR ALIVE, that was a fun tour. Three weeks or so and I wish it could have gone on. It was a summer tour as well, which made it feel even more like a holiday. As for anecdotes, there are loads too many to mention here. You’ll have to buy a copy of my eBook ‘My Numan Years’ due for release soon.

Pete was great, and actually very shy. He kept a low profile and after the shows went back to his room with his wife Lynn. The drummer Steve Coy was also really nice and a serious nutcase. Tim Lever (keyboards) and Mike Percy (Bass) were also great. In spite of the image, I found them to be just a typical down-to-earth bunch of scousers!

You returned to play viola with Gary Numan on Complex at a few of ‘The Pleasure Principle’ 30th Anniversary shows in 2009 to a rapturous reception. What was it like to be back on stage with him?

It was fantastic. The only downside was that I’d loved to have done the tour. I hadn’t realised how much I’d missed live work. I’ll have to get DRAMATIS back together!

Rusty Egan recently invited you to write a song? 

Rusty tracked me down on Facebook. At first I thought it was a joke and that some one was scamming me for a laugh. But after some careful further investigation, I knew it was for real. The latest I heard was that two of my contributions including a co-written track with producer Nigel Bates were shortlisted along with contributions from Midge Ure, Youth etc. But you just never know if they’ll eventually make the final cut.

DRAMATIS’ first single ‘Ex Luna Scientia’ celebrated the spirit of NASA. How do you see the future of space travel now that the Space Shuttle has flown its last mission?

Sad in a way. We have moved on in science so radically in the last few decades but we still know so little (apart from how to destroy ourselves). We still can’t account for 94% of the mass of the Universe, which is really quite worrying.

Perhaps the missing parts are this great energy force which the Chinese called Qi (or Chi). I have recently completed studies in Chinese medicine and I’m actually a practitioner over here in France. My aim will be to discover the mysterious Qi and who knows after that… maybe DRAMATIS will make a comeback? “May the Force be with You”

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Chris Payne

http://www.chrispaynemusic.com/

https://www.electroniccircus.co.uk

http://www.electronicmusiclibrary.com

http://newwavecomplex.com/dramatis.html

Text and Interview by Chi Ming Lai
25th October 2011

A Short Conversation with GARY NUMAN

8 September 2011 /

Photo by Ed Fielding

“There are still people trying to work out what a genius Gary Numan is”: PRINCE

Few can forget the first time they saw TUBEWAY ARMY on Top Of The Pops in 1979. The singer was an androgynous figure with a white face and alien stare, who looked like he had been beamed in from another planet. His calculated image and electronic sound were completely at odds with the music scene of the time, making his impact on the nation’s psyche all the greater.

Gary Numan’s meteoric rise to stardom has been well documented; ‘Are ‘Friends’ Electric?’ spent four weeks at number one whilst its parent album ‘Replicas’ went simultaneously to number one in the album chart. Subsequent album ‘The Pleasure Principle’ was a hit on both sides of the Atlantic and gave rise to the classic number one single ‘Cars’. Numan had become an international star almost overnight, much to the perplexity of the British press who chose to vilify him rather than celebrate his success.

As well as topping the charts, Numan was gaining a reputation for his extravagant stage shows. However, by 1981 the pressures of fame and the relentless press attention were taking their toll on the 22-year old, and he announced his decision to retire from touring with a series spectacular farewell shows at Wembley Arena. Whilst the shows were hugely successful and some of the biggest ever to be staged on British soil, Numan’s decision to retire from touring was one he would live to regret. Although he was back on the road with the ‘Warriors’ tour as soon as 1983, to some extent the damage had already been done and by the mid 80s, Numan’s record sales were in sharp decline.

Photo by Ed Fielding

Whilst Numan’s ever-loyal army of Numanoids kept his career afloat through the lean years, it was not until 1994’s ‘Sacrifice’ that Numan’s reversal of fortune began. On this album, Numan took a back-to-basics approach, reverting to a darker sound and playing most of the instruments himself. The album was his most Numan sounding record for many years, and as such was warmly received by fans. Subsequent releases ‘Exile’ and ‘Pure’ saw Numan grow in confidence and develop his heavy, anthemic sound, whilst also finally receiving critical acclaim from the music press.

At the same time, a host of artists began naming Numan as a major influence and covering or sampling his music. Tracks such as SUGABABES’ ‘Freak Like Me’, Armand Van Helden’s ‘Koochy’ and BASEMENT JAXX’s ‘Where’s Your Head At?’ saw Numan’s songs (or at least large parts of them) returning to the top of the charts.

By the time his last studio album, ‘Jagged’ was released in 2006, his critical rehabilitation was complete. Following a triumphant pair of appearances at Back To The Phuture – Tomorrow Is Today, in the summer of 2011 he received the Mojo Inspiration Award in recognition of his widespread influence, presented to him by fellow synth pioneer Thomas Dolby.

This month sees Gary Numan return with a new album, ‘Dead Son Rising’, and tour. Co-written and produced by Ade Fenton, the album developed out of a set of discarded demos from previous projects but quickly took on a life of its own. Dead Son Rising promises to be both atmospheric and eclectic, with material ranging from the brooding ‘Dead Sun Rising’, to the Arabic and ghostly ‘We Are The Lost’. New single, the anthemic ‘The Fall’ has been already previewed on the web while the album also features two instrumental outings ‘Resurrection’ and ‘Into Battle’.

More than 30 years into his career, the man often cited as The Godfather of Electronica is still excited to be making new music. He kindly took some time out of his busy schedule to talk to ELECTRICITYCLUB.CO.UK about his new album and future plans.

Firstly, congratulations on winning the MOJO Inspiration Award! This is something of a turnaround from the early years when the press were very anti-Numan. How does it feel to finally get this recognition?

It feels great, very special. Things started to improve around the mid 90s and it’s been a steady build ever since. More people doing cover versions of my stuff, people like NINE INCH NAILS and FOO FIGHTERS, others using samples from my songs like SUGABABES and BASEMENT JAXX, others talking about me as being influential to them in various ways, it’s all been very positive for some time. Getting the award is the icing on the cake though. Very satisfying.

Who was the most unlikely artist do you think to have been inspired by you?

I read something very complimentary that PRINCE said recently, that was a surprise. LADY GAGA even said something nice and that really was a surprise.

The new album ‘Dead Son Rising’ is co-written and co-produced by Ade Fenton. As sharing the writing credits is something of a first for you, can you tell us about how you worked together on the creative process? Are there any key tracks from which the rest of the album grew?

The first track finished was called ‘The Fall’ and that got it off to a good start. Although the album is quite varied in content, more so than my usual albums, so much of it is quite different to ‘The Fall’. The process started out as just a Gary Numan album. At some point I went off it and didn’t want to do anymore with it really. I didn’t like what I’d written and got very down on the whole thing. Ade kept at it though and did a lot of new stuff. That brought me back in but by then it seemed obvious to me that his contribution had gone beyond that of a producer and so I said to Ade that we need to think of it as a joint project. I wanted it to go out as a Gary Numan / Ade Fenton album, but Ade wanted to keep it as a GARY Numan album.

Photo by Chi Ming Lai

‘The Pleasure Principle’ shows in 2009 were visually impressive, with their use of LED screens, and you took this a step further with your striking headline slot at Back To The Phuture earlier this year. Are we seeing a return to the big Numan stage sets of yesteryear?

As the career progresses and continues to build, we are able to consider more extravagant stage and light shows. To some degree this obviously depends on how well things are going at any given time, not just for me but for the fans and the economy in general.

You need to be sure that the shows will be well attended before committing to the enormous cost that those big shows come at. But it is something that we are hoping to do more in the coming years. Some tours will be more large scale than others I’m sure. I have another new album planned for next year called ‘Splinter’ and I have big plans for the ‘Splinter’ tour. That should be a big step up but it depends to an extent on how well the ‘Dead Son Rising’ tour goes.

You’ve also become a seasoned festival performer in recent years. How is it different from playing a Numan show?

Playing to an audience that is not full of your own fans brings with it a certain challenge. These are audiences that you need to win over; they are not a certainty by any means. But the excitement generated when they are going well, when you see more and more people warming to what you do with each song, that’s pretty special. You often play in the daylight so you have no big light show to help you, it’s all about the music and your performance. To succeed in that environment is very rewarding and for me, I see it as the most important part of the way forward for my career. My music is too heavy and too dark for radio so the only way I can reach out to a bigger audience is via festivals.

‘Dead Son Rising’ is your focus for now, but what of the highly anticipated ‘Splinter’ album? How different will that be from ‘Dead Son Rising’ and when it is likely to be released?

I still have a lot to do on ‘Splinter’ but I expect it to be finished in the early part of 2012, certainly by the middle of spring, so it should be out late summer. It will be heavier than ‘Dead Son Rising’, more of the ‘Splinter’ songs will be huge riff orientated tracks and no instrumentals. I want it to be the heaviest, darkest, most powerful thing I’ve ever done. I’m very excited about getting it finished as soon as possible because touring it is going to be a lot of fun.

ELECTRICITYCLUB.CO.UK gives its sincerest and grateful thanks to Gary Numan

Special thanks to Steve Malins at Random PR.

The standard CD edition of ‘Dead Son Rising’ is available for pre-order through Gary Numan’s official website and will be available during his upcoming September tour. It will go on general release from 24 October 2011.

The ‘Dead Son Rising’ Tour 2011 includes:

Nottingham Rock City (15 September), Bournemouth Academy (16 September), London Shepherds Bush Empire (17 September), Wolverhampton Civic Hall (18 September), Leeds Academy (19 September), Glasgow ABC (20 September), Liverpool Academy (21 September), Leamington Spa Assembly Hall (7 December), Manchester Ritz (8 December), Southampton Guildhall (9 December), Nightmare Before Christmas ATP Festival ­ hosted by BATTLES (10 December), Hatfield University The Forum (7 December)

http://www.numan.co.uk

https://www.facebook.com/GaryNumanOfficial/

Text and Interview by Steve Gray
8th September 2011

GARY NUMAN, JOHN FOXX, MOTOR + MIRRORS Live at Back To The Phuture London

2 May 2011 /


Tomorrow Is Today… Back To The Phuture figurehead Mark Jones has a clear mission statement: “to join the dots on electronic music”.

He has been the driving force behind a number of exciting innovations in recent years, including the collaborations of LITTLE BOOTS with Gary Numan, and LA ROUX with HEAVEN 17 for BBC 6Music. And more recently, there was a Back To The Phuture themed night at Bestival featuring HEAVEN 17, Howard Jones and VILLA NAH.

Last year he announced his most ambitious show to date, ‘Tomorrow Is Today’, which would bring together a stellar line-up of synth acts past and present. “It’s amazing to see Back To The Phuture evolve into a live ‘happening’ and to be able to present inspiring artists that’ve paved the way for all of us alongside ace current talent”, said Jones. “Their music has never been more relevant to what’s happening – tomorrow is today.”

The venue for this very special show was The Troxy, a lavish art-deco venue in London’s East End which began its life as an upmarket art deco cinema in the 1930s. By mid-afternoon a very large queue had started to snake around the building, such was the anticipation of the evening’s events.

Electronic music fans from Germany, Finland and Italy had made the journey especially, while musicians of various standings from the genre were also in attendance.

VILE ELECTRODES and DEPECHE MODE’s Andy Fletcher were all interested onlookers, keen to be part of one of the biggest celebrations of electronic music to be ever held on British soil.

First on the bill were Brighton-based quartet MIRRORS. The smartly attired band were clearly thrilled to be sharing the stage with their electro forefathers, and they rose to the occasion, delivering a blistering set showcasing their superb debut album ‘Lights and Offerings’. As a live act, they are quite mesmerising to watch and their performance won over a legion on new admirers, as evidenced by all their CDs selling out at the merchandise stall by the end of the night.

Following a short DJ set by the irrepressible Mark Jones, it was time for the first of two synth legends to take to the stage.

John Foxx, accompanied by his band including Benge, Steve D’Agostino, Serafina Steer and Robin Simon, opened with ‘Shatterproof’ from the acclaimed new album ‘Interplay’.

Foxx exuded his enigmatic charm throughout the set, in which new material sat comfortably next to early ULTRAVOX anthems ‘Dislocation’, Quiet Men’ and ‘Hiroshima Mon Amour’, plus his trio of classic solo singles ‘Underpass’, ‘Burning Car’ and ‘No-One Driving’.

Sadly, the album’s highlight ‘Watching A Building On Fire’ was absent but it was a brilliant hour of fine electro. John Foxx is a pioneer of the genre who, more than thirty years into his career, is still making music that is exciting and innovative. The ecstatic welcome he received tonight was richly deserved.

By way of contrast, the next band were Franco-American techno outfit MOTOR. With their light-sabre styled microphone stands and frantic club beats, what was not obviously apparent tonight is that the duo have moved into song based territory with their new album which is due out later this year. DEPECHE MODE’s Martin Gore, NITZER EBB’s Douglas McCarthy, ELECTRIBE 101’s Billie Ray Martin and Gary Numan will all be featuring as guest vocalists.

Following their support slot on DEPECHE MODE’s Tour Of The Universe, the future could get very interesting for Mr No and Bryan Black. MOTOR were followed by their label boss, Mute supremo Daniel Miller, another goliath of the electro world whose DJ set included his own ‘Warm Leatherette’ which started the Mute brand off, some TUXEDOMOON and the Slavery Whip mix of DEPECHE MODE’s ‘Master And Servant’.

Finally it was time for Gary Numan to appear. Often referred to as the godfather of electro, as he strode onto the stage against a towering backdrop of LED screens he looked every inch the guvnor. As if to prove the point, he launched straight into three classics in a row; namely ‘Down In The Park’, ‘Films’ and ‘That’s Too Bad’, each to a rapturous reception.

To mark the special occasion, ‘Crash’ then received a rare live airing, and anyone who bought the ‘Dance’ album some thirty years earlier was singing their heart out. ‘Listen To The Sirens’ was another one getting a rare outing while for the rest of Numan’s set, vintage tracks like ‘Cars’ were interspersed with heavier brand new material such as ‘Dead Son Rising’ and ‘Splinter’ which resulted in some lost momentum.

Nevertheless, ‘I Die: You Die’ with its savage narrative on the destructive nature of the press sounded as futuristic as ever, while anthems such as ‘Pure’ and the spine-tingling Andy Gray mix of ‘A Prayer For The Unborn’ affirmed that when Numan is good, he’s very good. The set was ultimately well received by the highly enthused faithful (when was the last time the former Gary Webb actually sung the line “but are friends electric?” himself?) and provided a fitting climax to the night.

To close the proceedings, an emotional Mark Jones came out on stage to thank everyone involved, and then a veritable ‘who’s who’ of Synth Britannia took to the stage for a final curtain call: Daniel Miller, John Foxx, Gary Numan and MIRRORS. It was quite a sight to see; our friends electric! Ally Young of MIRRORS thoroughly enjoyed his evening and said: “It was a real privilege for us to be playing alongside such legends”.

MIRRORS’ singer James New went to meet fans in the merch area afterwards while nearby, John Foxx was all smiles and happily shook hands with well wishers as they expressed their grateful thanks. Via his website, Gary Numan said: “The feedback we’ve had so far has all been extremely positive which makes all the hard work that has been put in so worthwhile.”

This was a special night that brought together the electro community from far and wide. All credit to Mark Jones and Back To The Phuture for making the dream a reality.

http://backtothephuture.net

www.numan.co.uk

www.mute.com

www.metamatic.com

www.wearemotor.com

www.facebook.com/theworldofmirrors/

Text by Steve Gray
Additional material by Chi Ming Lai
Photos by Mike Cooper and Richard Price
2nd May 2010

WE HOPE YOU ENJOY OUR NEW DIRECTION Some Not So Great Albums By Some Great Acts

18 April 2011 /

While opinion is totally subjective and in the mind of the beholder, in the same way that a footballer can occasionally fluff a shot, then a musician can also score their equivalent of an own goal.

The less than impressive albums on this list have generally been derided by both fans and critics. In most cases, these recordings were made by established acts with sure-fire reputations at the height of their career; or they were part of a much vaunted comeback.

But as can be expected with the highs and lows of the music industry, a number were produced during difficult periods in an artist’s creative dynamic following personnel changes or record company pressures. So in hindsight, poor results were often predictable and inevitable. However, based on the standards of their strongest work, most of the talents mentioned here should have known better.

But even in the face of informed criticism, some musicians can be terribly stubborn and unrepentant. Reacting to negativity surrounding his infamous ‘Metal Machine Music’ double album of feedback and electronic screeching, Lou Reed famously snorted: “if they don’t like it, they can go eat rat sh*t”! Oh well, would you like fries with your rat sh*t?

Inspired by the Q Magazine article ‘Can I Have My Money Back?’ from 1996, here are 20 of the better known creative blips, in alphabetical order. It should be noted that ELECTRICITYCLUB.CO.UK actually bought all but 5 of these albums, so make of that what you will!

KARL BARTOS Electric Music (1998)

Proof that pioneering geniuses lose their way once in a while. Following his ‘Esperanto’ album in 1993 with Lothar Manteuffel of RHEINGOLD under the moniker ELEKTRIC MUSIC which many accepted as a KRAFTWERK record in all but name, Karl Bartos went to work with Bernard Sumner and Johnny Marr on ELECTRONIC’s ‘Raise The Pressure’. He found the experience liberating and on his return, adopted the guitar for his next ‘Electric Music’ album.

Speaking in 2005, he said that when he started playing music as a teenager, it was in his bedroom with his guitar pretending to be Chuck Berry and this album was him getting back to all that. ‘Young Urban Professional’ was actually a song originally written for KRAFTWERK, but is turned into THE SMITHS’ ‘Hand In Glove’ with vocoder! ‘Sunshine’ is typical of the clumpy rock that marred NEW ORDER’s 2001 comeback ‘Get Ready’ while the rest of the album is pretty much the same. Only ‘Call On Me’ possesses any kind of spark as a song. Bartos himself described ‘Electric Music’ as an “exploration of the sound of the sixties – guitar pop out of the computer” and thanks Johnny Marr in the credits! Luckily, Bartos returned to synths and was back on form with 2003’s ‘Communication’, delivering a collection that showed his former cycling partners over at Kling Klang a thing or two.

Best track: ‘Call On Me’

‘Electric Music’ was originally released by SPV Records

http://www.karlbartos.com/

DEPECHE MODE Sounds Of The Universe (2009)

Following a return to form with ‘Playing The Angel’, much was expected of ‘Sounds Of The Universe’ when the band’s biggest world tour to date was announced in 2008. Unfortunately, the lacklustre ‘Exciter’ from 2000 appeared to be the musical template and the tracks that leaked were not particularly promising. The resultant album lacked spark, dynamics and creative tension. It was dreary mid-paced electro blues that dominated on this turkey.

The outstanding track from the sessions ‘Oh Well’ was a spicy uptempo Moroder-esque collaboration between Martin Gore and Dave Gahan but only appeared in the 4CD deluxe box set while the fact that the two best tracks on the main feature were a ballad voiced by Gore and a short instrumental said it all! But this became rather trivial when Gahan was diagnosed with a life threatening illness while on out on the road in Athens!

Best tracks: ‘Jezebel’, ‘Spacewalker’, ‘Oh Well’ (deluxe box set only)

‘Sounds Of The Universe’ was originally released by Mute Records

http://www.depechemode.com

DURAN DURAN Thank You (1995)

This covers album was recorded at the behest of EMI Records who were strangely impressed by DURAN DURAN’s rather strained cover of THE VELVET UNDERGROUND’s ‘Femme Fatale’ from ‘Wedding Album’ and eager for a quick cash-in on their 1993 renaissance. Among the songs attempted were ironic takes on ‘White Lies (Don’t Do It)’ and another drug dependency tale ‘Perfect Day’, as well as songs by Bob Dylan, Elvis Costello and Sly Stone!

The covers of Iggy Pop’s ‘Success’ and THE DOORS’ ‘Crystal Ship’ were actually quite enjoyable but among all the ham reinterpretations of established standards, the band actually covered themselves in a new version of ‘The Chauffeur’ entitled ‘Drive By’! Often regarded as one of the worst albums ever recorded, this disaster was dubbed “No Thank You” by many fans! Worse was to come for DURAN DURAN though as John Taylor left the band and EMI UK then refused to release their 1997 album ‘Medazzaland’. It would take a reunion of the classic line-up in 2004 to get them back on track and it wasn’t until 2011’s ‘All You Need Is Now’ album that they fully recaptured their former artistic glories.

Best tracks: ‘Success’, ‘Crystal Ship’

‘Thank You’ was originally released by EMI Records

http://www.duranduran.com

ERASURE Loveboat (2000)

In a poor period for Andy and Vince, this was a close run thing with their covers album ‘Other People’s Songs’ but at least with the latter, there were quality songs on show even if some of the versions left a lot to be desired. The problem wasn’t just the emphasis on guitar driven dynamics, it was also severely lacking in the usual ERASURE charm. Andy Bell admitted how shocked he was when he heard how “weird and indie” Rob Kirwan’s final mix sounded.

Despite production by Flood,  it was all very muddy. And even the album’s one potentially great song ‘Moon & The Sky’ was missing an uplifting chorus which was only later added to the Heaven Scent Radio Re-Work version that was released as a single. The redeeming consequence though was that despite these tough times creatively, ERASURE took to soft synths and made one of their best albums in 2005 with ‘Nightbird’.

Best tracks: ‘Freedom’, ‘Moon & The Sky’

‘Loveboat’ was originally released by Mute Records

http://www.erasureinfo.com

HEAVEN 17 Teddy Bear, Duke & Psycho (1988)

‘Teddy Bear, Duke & Psycho’ were the affectionate nicknames given by Terence Trent D’Arby respectively to HEAVEN 17’s Martyn Ware, Glenn Gregory and Ian Craig Marsh. The conventional sounding ‘Pleasure One’ released in 1986 had been given a lukewarm reception, while Martyn Ware’s success as a producer for artists such as Tina Turner and Mr D’Arby himself may have started to spread his creative energies just a little too thinly.

Whatever, when ‘The Ballad Of Go Go Brown’ was released as lead single and Glenn Gregory appeared on the album cover wearing a Stetson and cowboy boots, the writing was on the wall. A lot of the album features the blue eyed soul of the times but with younger acts like WET WET WET, AZTEC CAMERA, HUE & CRY and even PERFECT DAY (featuring a certain Mark Jones of Wall Of Sound fame!) gaining the public’s attention, HEAVEN 17 then went on hiatus for the next nine years before returning with the electronically driven triumph ‘Bigger Than America’.

Best tracks: ‘Big Square People’, ‘Train Of Love In Motion’

‘Teddy Bear, Duke & Psycho’ was originally released by Virgin Records

http://www.heaven17.com

THE HUMAN LEAGUE Crash (1986)

Work had started on ‘Crash’ in 1985 with producer Colin Thurston but the results were not deemed suitable for release by Virgin Records. To overcome the creative block, THE HUMAN LEAGUE were despatched to Minneapolis to record with top producers Jimmy Jam and Terry Lewis. Here, they became part of the manufactured R’n’B conveyor belt that had already seen success for Janet Jackson and Alexander O’Neal.

Ian Burden in particular was considered surplus to requirements by the producers. Disconcertingly, the album’s two strongest numbers ‘Human’ and ‘Love Is All That Matters’ had no songwriting input from any of THE HUMAN LEAGUE themselves… but then, they weren’t involved in the album’s two stinkers either! The David Eiland composed ‘Swang’ was horrible while ‘I Need Your Loving’ surely had to have been a Janet Jackson reject? Eventually, Oakey and co went home leaving Jam and Lewis to finish ‘Crash’. ‘Human’ was an American No1 and helped keep THE HUMAN LEAGUE’s profile up Stateside while the album’s end results sounded nothing like them with Phil Oakey’s voice left exposed as it was not really suited to the dynamics of soul. It would take almost ten years for them to regain momentum with 1995’s ‘Octopus’.

Best tracks: ‘Human’, ‘Love Is All That Matters’, ‘Money’

‘Crash’ was originally released by Virgin Records

http://www.thehumanleague.co.uk

JAPAN Rain Tree Crow (1991)

This was the much heralded reunion of David Sylvian, Mick Karn, Steve Jansen and Richard Barbieri aka JAPAN, a band who many considered had broken up before their time following the highly acclaimed ‘Tin Drum’ album in 1981. However, the split was due to personal rather than artistic differences when Karn’s girlfriend Yuka Fujii left him for Sylvian. Time eventually healed wounds and the quartet gathered together in France.

Under the Sylvian inspired Native American moniker RAIN TREE CROW, the idea had been to compose and record as a group through improvisation as opposed Sylvian being sole songwriter and studio dictator which had previously been the case during the JAPAN days. However, Sylvian’s stubborn imposing character led to a return to old ways. Supported by a huge budget from Virgin Records, unbelievably it was exceeded. So Virgin gave them an ultimatum where no more money would be forthcoming unless the project was presented under the name of JAPAN. The others agreed but Sylvian refused. Walking off with the tapes to mix the album under his own finance and supervision, he refused to let any of his bandmates in on the sessions! The result was an unfocussed set consisting of progressive avant jazz and self-indulgent ethnic instrumental pieces tha sounded unfinsihed. Only the magnificent single ‘Blackwater’ bore any kind of relation to JAPAN’s brilliant legacy. The quartet never worked together again and with Mick Karn’s sad passing, never will.

Best track: ‘Blackwater’

‘Rain Tree Crow’ was originally released by Virgin Records

http://www.nightporter.co.uk

JEAN MICHEL JARRE Sessions 2000 (2002)

It is always going to end in tears when an artist embarks on a jazz odyssey! And so it was when Jean-Michel Jarre came up with what appeared to be an attempt to break his then recording contract with Sony Music. ‘Sessions 2000’ contained six tracks named presumably after the days they were composed. Recorded by Jarre with collaborator Francis Rimbert, all had deliberate chill-out lounge jazz undertones and unfortunately, a distinct lack of melody.

‘June 21’ just plods along aimlessly for over six minutes while ‘September 14’ aims at the atmosphere of ‘Twin Peaks’ but does nothing in its excruciating nine! Haunting piano and detuned tones colour the Ryuichi Sakamoto influenced ‘May 1’ but any potential is unrealised. Only ‘March 23’ has any kind of musical shape with a distinct rhythmic pulse textured with synthetic brass and slide guitar samples but is far too long. Jarre eventually got back up to speed with the improved but still laid back ‘Geometry of Love’ and the dance driven ‘Teo & Tea’.

Best track: ‘March 23’

‘Sessions 2000’ was originally released by Sony Music

http://www.jeanmicheljarre.com

KRAFTWERK Tour De France Soundtracks (2004)

The first new material from KRAFTWERK since the disappointing ‘Expo 2000’, this was Ralf Hütter and Florian Schneider’s opportunity to reconsolidate their position as electronic godfathers. However, it was also 14 years since the departures of percussionists Wolfgang Flür and Karl Bartos, and it showed. One of the weakest links in ‘Tour De France Soundtracks’ was the rhythm programming which lacked punch and neither encouraged excitement or dancing.

Ironically for an album about cycling, ‘Tour De France Soundtracks’ was strangely pedestrian. Everything was tightly sequenced and structured but noticeably absent was the humanity and humour which were two of KRAFTWERK’s strongest suits, even on tracks like ‘Sex Object’ and ‘Boing Boom Tschak’ from 1986’s lacklustre predecessor ‘Electric Cafe’. The reworkings of the original 1983 ‘Tour De France’ track are the best things on here while Karl Bartos’ ‘Communication’ album, which happened to be released a few weeks later, was infinitely superior.

Best track: ‘Tour De France’, ‘Tour De France Etape 1’

‘Tour De France Soundtracks’ was originally released by EMI Records

http://www.kraftwerk.com

NEW ORDER Waiting For The Sirens’ Call (2004)

NEW ORDER’s musical strength was fusing the spirit of punk into electronics and dance. However, with keyboardist Gillian Gilbert leaving the band on their recorded return, Messrs Sumner, Hooky and Morris filled the void with a bunch of stodgy rock numbers on 2001’s ‘Get Ready’. For the next album, the trend towards rock continued although there were marginally more synths this time although the array of producers involved confused matters.

As possibly the worst song NEW ORDER have ever recorded, ‘Who’s Joe?’ had none of the spirit of their best guitar numbers. Even the lead single ‘Krafty’ was uninspiring NEW ORDER by numbers while its follow-up ‘Jetstream’ featuring SCISSOR SISTERS’ Ana Matronic was terribly lame despite being produced by Stuart Price. Only the title track and ‘Dracula’s Castle’ have any flashes of their classic brilliance. Legend has it that when Peter Saville was commissioned to design the sleeve, he was so unimpressed by the quality of the album that he decided to send an ironic message to warn any potential punters!

Best tracks: ‘Waiting For The Sirens’ Call’, ‘Dracula’s Castle’

‘Waiting For The Sirens’ Call’ was originally released by London Records

http://www.neworder.com

GARY NUMAN Warriors (1983)

Things had looked promising with Gary Numan returning to the live stage after retiring in 1981. Bill Nelson was slotted in to produce ‘Warriors’, but the pair fell out very early on in the sessions. Nelson then had his more trebly cutting mixes wiped by Numan so asked for his name to be taken off the credits! With the alien embracement of jazz and funk influences, ‘Warriors’ ended up a well played if confused, characterless body of work.

The use of some top flight session musicians was a major part of this mess. Dick Morrissey played saxophone solos whether they really ought to have been there or not, while Joe Hubbard’s slap bass was at times self-indulgent and wholly incongruous with the Numan sound. Although there were a couple of good tracks like the dreamy ‘The Iceman Comes’ and the synthetic THIN LIZZY of ‘My Centurion’, this was the start of a creative dip that Gary Numan wouldn’t truly recover from until 1994. In between, he appeared far more interested in flying than his music career.

Best tracks: ‘The Iceman Comes’, ‘My Centurion’

‘Warriors’ was originally released by Beggars Banquet Records

http://www.numan.co.uk

OMD Liberator (1993)

Following the success of ‘Sugar Tax’ in 1991, remaining sole OMD founder Andy McCluskey was on a commercial roll and decided to continue this well trodden poptastic path. As a result, ‘Liberator’ featured lots of busy modern dance effects. “It was an album for kids” lamented McCluskey later to Jens Lindell on Swedish radio in 1996. But by the time of its release in 1993, Da Kidz were worshipping acts such as TAKE THAT and EAST17 who were closer in age to the intended demographic.

An album of C-sides, ‘Stand Above Me’, ‘Everyday’, ‘Love And Hate You’ were all painfully poppy and not exactly the strongest songs in the OMD canon. Meanwhile, opinions are still divided about the synth MOR tune ‘Dream Of Me’, based on LOVE UNLIMITED ORCHESTRA’s ‘Love’s Theme’. The confused schizophrenic nature of the album’s concept was compounded by the pure genius of darker, more traditional OMD numbers like ‘King Of Stone’ and ‘Christine’. The muted reception to ‘Liberator’ led to the brave but conventional and ultimately doomed ‘Universal’ in 1996, before McCluskey retired the OMD brand. Bruised, he then set his sights on launching ATOMIC KITTEN! And that is a story in itself!

Best tracks: ‘King Of Stone’, ‘Christine’, ‘Best Years Of Our Lives’

‘Liberator’ was originally released by Virgin Records

http://www.omd.uk.com

PET SHOP BOYS Release (2002)

With pun totally intended, ‘Release’ was marred by the input of THE SMITHS’ famed guitarist Johnny Marr who had already used his influence to fill the last ELECTRONIC album ‘Twisted Tenderness’ with harmonica, getting Bernard Sumner rock out again in the process and even inspiring Karl Bartos to use guitar on every track of his ‘Electric Music’ album… note the irony with both band monikers!

Neil Tennant and Chris Lowe meanwhile attempted a collection of understated songs which were not only free of club derived beats but also of hooks and melodies! ‘Release’ certainly had none of the quality of their other understated album ‘Behaviour’. ‘I Get Along’ comes over like a camp version of Oasis while the worthiness of ‘Here’ wasn’t revealed until PET SHOP BOYS’ own dance remix for ‘Disco Vol3’. ‘The Night I Fell In Love’ is a lyrically amusing narrative about Eminem having a gay fling with a fan, but apart from the uptempo ‘The Samurai In Autumn’, this album is mostly plodding six-string led numbers devoid of any of the mastery that made them great. They were wearing someone else’s clothes and they didn’t fit. Ironically, ‘Release’really was PET SHOP BOYS ‘Being Boring’! And did you know that Johnny Marr in French (J’en Ai Marre) means “I am fed up”?

Best track: ‘The Samurai In Autumn’

‘Release’ was originally released by EMI Records

http://www.petshopboys.co.uk

SIMPLE MINDS Street Fighting Years (1989)

Lambasted for embracing stadium rock, one thing though about 1985’s ‘Once Upon A Time’ was that it was an enjoyable uptempo synthetic rock record that successfully exploited its commercial possibilities with its sharp radio friendly outlook. However, when they took the album out on the road, Jim Kerr and co persisted with overlong, pompous arrangements and hectored the audience with tiresome repeated shouts of “show me your hands” and “higher”!

For the ‘Street Fighting Years’ album, the band retreated to the tranquillity of rural Scotland to inspire a more earnest, political direction… unfortunately, the overlong, pompous arrangements remained! Instrumentally, the bombast and synths were replaced by brushes, rootsy bottleneck guitar and Hammond organ flourishes that were ubiquitous of the period. But the songs meandered along formlessly at over six minutes at a time. Their only UK No1 single ‘Belfast Child’ outstayed its welcome by at least four and a half minutes! Even the production skills of Trevor Horn and Stephen J Lipson, who were recruited because Jim Kerr was a fan of PROPAGANDA’s ‘A Secret Wish’, couldn’t save this one!

Best track: ‘Wall Of Love’

‘Street Fighting Years’ was originally released by Virgin Records

https://www.simpleminds.com/

SPARKS Terminal Jive (1980)

Following the success of the singles ‘The No1 Song In Heaven’, ‘Beat The Clock’ and ‘Tryouts For The Human Race’ from the Giorgio Moroder steered album ‘No1 In Heaven’, SPARKS were despatched by Virgin Records to record a swift follow-up. Although Moroder was still nominally at the helm, ‘Terminal Jive’ was more ‘Hot Stuff’ than ‘I Feel Love’. Harold Faltermeyer of ‘Axel F’ fame took up a large part of the production duties as Moroder started to lose interest.

The songs were mostly lethargic synth assisted FM rock numbers. ‘Rock ‘N’ Roll People In A Disco World’ seemed to reflect the confused direction both lyrically and musically. Ironically, despite featuring more guitars and therefore a more American friendly sound, ‘Terminal Jive’ was the only SPARKS album that wasn’t issued in the US on its original release. The highlights were ‘When I’m With You’ which was a massive hit single in France and the satirically pervy ‘Young Girls’. However, the lack of quality material, as summed up by the inclusion of the instrumental version of ‘When I’m With You’, was the real problem. Disillusioned, SPARKS left Europe and returned to the States where they attained some varied domestic success having been previously ignored by their compatriots. They wouldn’t be seen much in Europe again until 1994 when the brilliant ‘When Do I Get To Sing My Way’ became as smash and gave them an unexpected career renaissance.

Best tracks: ‘When I’m With You’, ‘Young Girls’, ‘The Greatest Show On Earth’

‘Terminal Jive’ was originally released by Virgin Records

http://allsparks.com

TANGERINE DREAM Cyclone (1978)

So this was a great idea, a TANGERINE DREAM album with vocals and flute! Featuring Steve Jolliffe on those said two colours, the first 13 minute track ‘Bent Cold Sidewalk’ came over like GENESIS and JETHRO TULL with its mystical lyrics and Hobbit vocal delivery. The uptempo ‘Rising Runner Missed By Endless Sender’ actually sounded like ULTRAVOX, but unfortunately in their Foxx-less and Ure-less ‘Ingenuity’ guise fronted by the best forgotten Sam Blue!

The progressive rock overtones took a breather on the more traditionally cosmic instrumental ‘Madrigal Meridian’ which saved the show, but most TD fans had probably headed down to the second hand stores by the end of side one. Although not well received, such was Messrs Froese and Franke standing at the time, ‘Cyclone’ was TANGERINE DREAM’s sixth best-selling album in the UK.

Best Track: ‘Madrigal Meridian’

‘Cyclone’ was originally released by Virgin Records

http://www.tangerinedream.org

TEARS FOR FEARS Everybody Loves A Happy Ending (2004)

‘Everybody Loves A Happy Ending’ saw TEARS FOR FEARS’ original nucleus of Roland Orzabal and Curt Smith reunited for the first time since the tedious ‘The Seeds Of Love’ album from 1989. Friends since childhood, Orzabal’s domination of those sessions proved too much for Smith and it would be many years before they would even speak again. However, the reunion was already in trouble when Arista Records, who had signed the duo, pulled the comeback album.

But it was easy to see why… the album consisted of dull derivative compositions with little flair. The title track was another attempt at THE BEATLES pastiches from the last time Orzabal and Smith recorded together. Americana was one of the main templates with ‘Call Me Mellow’ basically a retread of THE LAs’ similarly influenced ‘There She Goes’. Eventually released on Gut Records after a year’s delay, only the original closing track ‘Last Days On Earth’ had any redeeming features but even that sounded like The Isley Brothers. As further a sign of their lack of creative juice, the duo even took to using Gary Jules’ arrangement of ‘Mad World’ from the ‘Donnie Darko’ soundtrack when performing the song live! Anyone who expected the sixth form synth angst of ‘The Hurting’ or even the MTV friendly rock of ‘Songs From The Big Chair’ was going to be disappointed.

Best track: ‘Last Days On Earth’

‘Everybody Loves A Happy Ending’ was originally released by Gut Records

http://www.tearsforfears.net

ULTRAVOX U-Vox (1986)

Also known by fans as “The Dreaded Pink Thing”, the signs had not been good when drummer Warren Cann was booted out of the band for preferring to use computer generated percussion while in the wake of his successful solo career, Midge Ure was dictating a more back-to-basics approach. Paradoxically though, soulful backing vocalists, funk bass, orchestras, brass sections and sax solos all entered into the equation, resulting in a totally unfocused sound.

‘Sweet Surrender’ was frankly a bit of a mess while ‘Moon Madness’ didn’t know whether it should have been rock or jazz. Backed by The Chieftains and featuring no synthesizers at all, ‘All Fall Down’ polarised listeners with its Celtic folk roots and anti-war message. But the poor title ‘U-Vox’ summed it all up… a band with something missing! However, ‘The Prize’ was as good as anything TEARS FOR FEARS or SIMPLE MINDS did in their stadium phase, ‘Time To Kill’ retained some European cool despite the acoustic guitars and the epic ‘All In One Day’ was the best thing Scott Walker never recorded.

Best tracks: ‘The Prize’, ‘Time To Kill’, ‘All In One Day’

‘U-Vox’ was originally released by Chrysalis Records

http://www.ultravox.org.uk

VISAGE Beat Boy (1984)

Midge Ure and Billy Currie had both left VISAGE in 1982, leaving Steve Strange and Rusty Egan with the VISAGE name and ownership of a very expensive Synclavier computer synthesizer. Despite the promising edgy electro-disco of interim single ‘Pleasure Boys’, the direction chosen for ‘Beat Boy’ was an ill-advised sojourn into rock with a group of session musicians filling in slots vacated by the former members of ULTRAVOX and MAGAZINE.

Without Ure’s production guidance, Steve Strange’s singing was all over the place. Neither ‘Only The Good Die Young’ nor the dreadful title track knew when to finish, while ‘Can You Hear Me?’ didn’t know when to actually start. And the backing vocals by guitarist Andy Barnett on the gross heavy metal of ‘Casualty’ were truly appalling! The eight tracks that made up ‘Beat Boy’ were all far too long although ‘Questions’ possessed a funky energy while ‘Love Glove’ could have easily come off ‘The Anvil’. However, this poor album led to the end of VISAGE. Rusty Egan went to work for U2 while Strange formed the unsuccessful STRANGE CRUISE and sadly later experienced some well documented personal difficulties.

Best tracks: ‘Love Glove’, ‘Questions’

‘Beat Boy’ was originally released by Polydor Records

http://therealvisage.com/

NEIL YOUNG Trans (1982)

Many of the albums mentioned have had the disaster of synth based acts adopting more conventional colours. This was one which where it happened the other way round. ‘Trans’ was Neil Young’s 1982 excursion into synthesizers, Linn Drum computers and vocoders. Despite the noble gesture of wishing to artistically express the difficulties of communicating with his son Ben who had cerebral palsy, ‘Trans’ didn’t work.

‘We R In Control’ and ‘Computer Cowboy’ both sounded like Metal Mickey fronting THE EAGLES while ‘Sample And Hold’ was an excessively long robotic march. However, there was an almost ethereal ‘Neon Lights’-like beauty in ‘Transformer Man’. Although there were still enough essential elements for ‘Trans’ to be nothing but a Neil Young album, it baffled his fans and was lambasted by the real music brigade. “I could never get anybody to believe that the f***ing idea was any good” said Young looking back, perhaps because it wasn’t in Young’s instinctive musical DNA to effectively use electronics. Indeed, he was later sued by his label Geffen Records for producing “deliberately uncommercial and unrepresentative work”!

Best Track: ‘Transformer Man’

‘Trans’ was originally released by Geffen Records

http://www.neilyoung.com

Text by Chi Ming Lai
18th April 2011

Introducing MAISON VAGUE

12 February 2011 /


It’s 2011 and the MAISON VAGUE battlecry is “Synthpop’s alive!”!

MAISON VAGUE’s debut long player of the same name harks back to an earlier stage of Synth Britannia when the mighty Moog was king. Consisting of lone American-born German-domiciled keyboardist / programmer Clark Stiefel, the title track of MAISON VAGUE’s album was initially a reaction to a YouTube video entitled ‘Synthpop Is Dead’.

Totally disagreeing with its creator, Clark responded but instead of speaking his protest, he sang it in a classic synthpop style. The opening salvo of “Everyone’s entitled to opinion… you have yours and well I have mine. And though it seems that our opinions differ… you’ll agree in time!” could be the sound of PLACEBO gone electro.

Featuring lots of organic synth sounds and rich vintage soloing, some clever programming helps to provide a fluid as opposed to mechanical rhythm section to give it heart and soul.

With a template of Gary Numan meeting DEVO, among the other tracks from the album, the brilliant ‘Give Them Away’ takes its lead from ‘The Pleasure Principle’ and in particular ‘Observer’, but is developed into a far more complete composition. It also finishes with a simulated violin solo that recalls ULTRAVOX’s Billy Currie who incidentally played on that very Numan album. Its second cousin ‘Buried In Sandstone’ is also decidedly Numan-esque while ‘My Situation’ takes its inspiration from THE HUMAN LEAGUE.

Changing the tempo slightly, the reggae stabbed electro of ‘Tunnel Vision’ recalls late 90s cult combo BAXENDALE and lifts in the chorus via some lovely layers of string machine. As a whole, ‘Synthpop’s Alive’ combines aggression with eccentricity although a sly tongue-in-cheek irony allows the listener to have fun and not take it all too seriously!

‘Synthpop’s Alive’ is available now as a download album from Amazon

http://www.maisonvague.com/

https://www.facebook.com/Maison-Vague-43000159265/

Text by Chi Ming Lai
12th February 2011

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